Tangerine dream cyclone rapidshare

Just been handed this on vinyl. Haven't got a record player. Is it any cop? Tangerine Dream Cyclone 3. Over time the form of bands change, in terms of age, maturity, sound and in some instances the band lineup. Changes like these are often gradual and slow, with each album another small step on the pathway to a new identity.

At times they are rapid and shocking alterations that occur in a bands midlife crisis. Not many bands typify change better than Tangerine Dream. Over their three decades in the music business, they have produced beautiful ambient music suited to meditation, space themed electronic music, dozens of movie soundtracks and captivating art rock.

Out of the many albums in Tangerine Dreams catalogue, none symbolize change better than Cyclone. In the highly regarded trio of Peter Baumann, Edgar Froese and Christopher Franke split up, with Baumann leaving to pursue a solo career. Perhaps it was due to Baumann's departure that the remaining duo decided a new direction was in order.

Cyclone is quite notably the first Tangerine Dream album to feature lyrics and vocals. Their move towards more vocal based tracks hurt their reputation in the eyes of loyal fans, who unsurprisingly criticized Cyclone heavily. Another trend that started with Cyclone was their use of rock music's signature string instrument, the guitar.

As such Cyclone often feels more like psychedelic rock, similar to Pink Floyd, rather than experimental trance-inducing electronic music. The essence of Tangerine Dream remains in Cyclone , it just takes on a new guise. Three tracks do not sound like much for a full-length album, but Tangerine Dream certainly does pack a ton into the 38 minute album. Each track on Cyclone has its own clear and defined identity. Because of this, the album does not flow together like some of Tangerine Dreams prior albums; but when listened to minor details like these do not detract away from the experience.

Immediately the change in Tangerine Dream's sound is evident. The intro to Bent Cold Sidewalk features processed electronic vocals. Although they sound quite eerie and set a precedent for the album, the fact that they are hard to understand kills the message of the strangely pensive lyrics.

I know that they believe that they have an answer. Then I walk in the city where I cannot hear it. The lyrics in Bent Cold Sidewalk are quite deep with meaning, and cover Tangerine Dreams usual themes of time, space and the world around us. The vocals for Cyclone were provided by Steve Jolliffe, a British man. Unfortunately, the vocals do not mesh well with the music itself.

Jolliffe shows little tact in his vocals, often just boldly pronouncing the lyrics into the microphone. Up until about into the piece, Tangerine Dream show no signs of their deft ability to give each track its own little world.

Bent Cold Sidewalk sounds more like a b-grade Pink Floyd rip-off. I had written to Edgar out of the blue to congratulate him on the work he had been doing, particularly on Rubycon. He immediately wrote back asking me if I would like to rejoin".

In fact, Steve Jolliffe had already been a member of the band for a short time in I went with Edgar to chat with Richard -- I really liked him. He seemed just like somebody you'd meet at the bus stop. We joked around comparing the length of our beards.

Although Jolliffe was also a skilled wind instrumentalist, most TD fans disliked this kind of music -- as did Edgar Froese himself. Edgar Froese: "After Phaedra we took off. We only had one record which was more or less unsuccessful, although not sales-wise -- just what we put on record.

I couldn't identify myself with that record. But then we ran into a tremendous trouble because everybody in the band wanted to do different melodies and things. And when we got a good track down, everybody wanted to do different things over the top of it. At last we decided Steve could sing -- the last way out.

So he sang, and it was so terrible! After the album release and the following European tour Steve Jolliffe again left the group, and Tangerine Dream did not again use vocals on their records until with the only exception of the spoken Russian words on Kiew Mission in In an interview with Jeff Filbert in Steve Jolliffe remembers about Cyclone : "It was conceived totally from scratch in a track recording studio that was booked 24 hours a day for a month.

We all went in together at first, trying lots of ideas and improvising, but we had some difficulty focusing our musical vision collectively. I did most of the tracks on it except for the bass and drum parts, which were performed by Chris and Klaus.

After that, things seemed to go much smoother and our ideas jelled better. On the other two pieces [ For Madrigal Meridian , Chris worked out some nice bass and sequencer patterns, and we just sort of began jamming over the top of that. The drums were put on last, and I remember that Klaus had some minor problems trying to maintain that exact drum pattern repeatedly. But he did some great playing, with some really nice things in the quieter sections of the piece.

I wrote all the lyrics on the album, although some of them were improvised, especially on Bent Cold Sidewalk. However, the spoken vocoder part the the beginning was not written by me, but was something we found and thought would be appropriate to the album.

The music was to be your transport, as in 'a rush of sound is heard inside, creating dreams that pass you by. And about Rising Runner Missed By Endless Sender : "The opening is about the spirit's individual search or quest -- running, searching, never looking back. Whereas Bent Cold Sidewalk has a line about standing still 'You're walking forward as you look behind' , the message [ The patterns are old and dead -- you've got to leave them and move on, keep running.

Finally, about the album: "We all had a go at the mixing. We used two track recording machines synced together to make the needed 48 tracks. I remember at one point we all became ill, one after another, being stuck in the studio all the time without proper ventilation. Most of the composition is made up of a pleasant electronic rhythm that slowly moves forward and evolves while Mellotron-flute and atmospheric synths are gracefully on top of it.

The funky guitar style on the slowly building opening adds some 70's influences. The opening climaxes in a very loud burst of Mellotron before slowing down to a melodic and laidback guitar theme leads into far faster and more energetic electronic rhythms. The finale sounds quite emotional with its melodic grand piano and longing synth lines.

Conclusion: "Stratosfear" represented the natural and necessary evolvement from the previous albums and that at a time when Tangerine Dream still could change within their signature sound. By treating the sequencers as a third instrument rather than an electronic foundation, "Stratosfear" builds on the softer moments creating a surprisingly warm immediate album. The cyclical nature of the arrangements gives the impression of individual songs rather than a single, epic tone poem.

The brisk pacing and accessible melodies would continue to play a prominent role in their subsequent work, especially on "Force Majeure" and "Tangram". As I mentioned before, "Stratosfear" would be the last studio album from the trio Baumann, Franke and Froese and many rank it as one of the best from this fruitful period. And if you like of "Stratosfear", you definitely also should listen to Baumann's first solo studio album "Romance 76". Prog is my Ferrari.

Review by Warthur Prog Reviewer. Not really worth tracking down on its own, I'd say - but the tracks are available as bonuses on the Pilots of Purple Twilight collection, so if you were already considering picking that boxed set up they're worth a listen and their presence certainly sweetens the deal a bit but if you were on the fence about getting it, I don't think these are the tracks to make you say "hell with it, I'm putting my money down".

In July? The heat wave peaks with temperatures reaching Punk rock band the Sex Pistols achieve public notoriety as they say several swear words live on Bill Grundy's TV show, following the release of their debut single. In the UK, Inflation stands at I was The events of meant little to me, except maybe the long hot summer of '76 - playing with friends in the glorious sun.

However, something of much greater import happened: Tangerine Dream released Stratosfear. Its impact on me was seismic. There are some events in life that we use as markers.

There was life before the marker and life after it. Stratosfear was such an event for me. Trying to figure why it was is another matter, but I shall try. Music at that time was mainly pop orientated in the UK charts.

My main exposure to music was the radio and Top of the Pops on TV. Both these were mainstream and unadventurous in their offerings. At the same time, in Germany, trying to shed the ghosts of WW2 and eager to express itself musically, a new musical form was evolving, completely forsaking the old traditional music whilst desperately trying to avoid pop music. The likes of Tangerine Dream, Kraftwerk, Neu and many others were experimenting, utilising the recent development of synthesisers as a catalyst.

A new Germany required a new form of music. Music for the present generation which was a complete break from the past and from tradition and mired in history. Germany was reinventing itself. Tangerine Dream formed in the late 60's. Their first albums were a mixture of acoustic and electronic sound generators. It wasn't until Phaedra and Rubycon that synthesisers played a major part and started to define their sound. This new music demanded new instruments. Broken from the shackles of traditional instruments though not completely abandoning them , synthesisers promised unimaginable sounds.

Stratosfear differed from their earlier albums; the tracks shorter and more melodic. For a band that embraced improvisation, they were also much more structured. The music presented a greater breadth of tonality, aided by the inclusion of acoustic instruments like the grand piano, chembalo and mouth organ.

These were the early days of electronics and TD experienced lot of problems with their equipment while recording: Peter Baumanns new sequencer did not work properly. When it finally did, the multi-track recorders broke down and at one point, began smoking. As Froese put it: "When I appeared in the studio one day with a harmonica, the absurdity of the situation was revealed.

It was supposed to be a joke, retort to the unpredictability of the technology, but after playing it during the beginning of 3 a. So much had happened during these sessions - master tapes at times disappeared from the studio, finished tracks were mysteriously erased and the mixing console finally went up in smoke. The events which occurred during the making of Stratosfear alone would fill an entire book!

I like to think that it was because of this rather than in spite of this that Stratosfear is, in my opinion, such a masterpiece and holds such a special place in my heart. From the first evocative strums of the 12 String Guitar to the last plaintive classical notes of flute and piano, Stratosfear is a perfect ecosystem that with reference to its title, envelops you, creating a perfect musical world. There is humanity here, supported by the use of traditional "hands on" instruments.

We are transported to a new world, not scary in the alien sense, despite the use of Fear in the album title, but rather in the pioneering sense - to be explored and ultimately settle down in. I have become increasing fascinated by the concept of the whole being greater than the sum of the parts. The ever-changing pace and dynamics, both in and between tracks propel the listener through ever changing emotions.